Sir Reginald Goodall
developed a considerable reputation
as a Wagner conductor in the later part
of his career, and his performances
and recordings marked him as a true
specialist in this field. Therefore
it is good to have this new issue from
the BBC archives; another valuable addition
to the catalogue from this rich source.

Goodall was also a
committed Brucknerian, and his glowing
account of the great Seventh Symphony
has both long-term vision and short-term
attention to detail. The recorded sound
from the live Royal Festival Hall performance
is good enough to show off the latter,
although it does not compare with the
more sophisticated and rich-toned offerings
from more recent recordings (the reissue
of Daniel Barenboim’s Berlin recordings,
for example).

The balancing of the
strongly characterized ingredients in
Bruckner’s first movements is most pleasingly
articulated by Goodall. The strings
of the BBC Symphony Orchestra, and the
cellos in particular, give the marvellous
opening theme that warmth of expression
that is its special quality. But there
is also room for a more dramatically
rhythmic approach later on, so that
the music builds with strongly articulated
symphonic momentum.

The gravity of the
slow movement, articulated at a true
Adagio, suits Goodall’s manner well.
If there is a criticism it is that the
climactic passages do not glow with
incandescent tone as much as they might.
A mixture of factors, including the
hall acoustic of this live performance,
may have contributed here. However,
the effect is never less than pleasing.
The edition is that of Leopold Nowak,
so the famous cymbal clash is included
at the peak of the greatest climax.

The later movements
are very much in line with the central
concept established thus far: a strongly
rhythmic scherzo with the first trumpet
on fine form, and a well-paced finale
which leads to a suitably final return
of the principal theme.

The performance of
the Mastersingers Overture succeeds
rather less well. The basic tempo is
slow, but there is a certain rhythmic
slackness and a consequent lack of flow;
an important consideration in this piece.
There are some highly effective moments,
to be sure, including the peal of C
major brass at the climax, but overall
this live performance from Snape Maltings
does not satisfy as the Bruckner Seventh
does.

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